Nordic Summer University Circle 7 Artistic Research | Performing Heterotopia Winter Symposium 2019 Departures, Deviations and Elsewheres 7–10 March 2019, European Humanities University, Vilnius Abstracts and Bios ______________________________________________________________________________ Almira Ousmanova Probing the Limits of the “Illicit”: The Strategies of Public Address in the Performative Politics of Contemporary Belarusian Artists The functioning of the public sphere in Western society during last fifty years was, perhaps, to a greater extent determined by cultural production rather than by formal institutions of civil society. The role of a constant disturber within the public sphere was taken up by Public Art ti an art that is capable of anticipating the figures of the political consciousness, as Alain Badiou would have said. Public artists who assumed the role of the revolutionary agents have contributed significantly to the birth of performative politics, in that sense that the repertoire of artistic techniques, invented by artists, was not only relevant, but also, perhaps, most in demand in current conditions. Flash mobs, silent protests, the provisionary occupation of urban spaces (vis-à-vis deterritorialization as its reverse side), graffiti, and finally the use of one's own body as a textual surface for political expression ( if to recall here the famous statement of a feminist artist Barbara Kruger “Your body is a battleground” (1989) ti these and other "forms" and "formats" of resistance were born in an artistic environment. Thanks to a certain (structurally determined) autonomy, artists often become the political parrhesiasts - the "holy fools" and / or dissidents in one person. The articulating capability of a poetic language at times is perceived as more powerful instrument than conventional verbal means in addressing the different publics. Moreover, the unpredictable actionist scenarios, invented by the artists, are not so easy to control or to penalize. That, of course, does not remain without attention of power regimes: the choice of a relevant article in the Administrative or Penal code depends on the wealth of the prosecution's imagination and the effectiveness of the judicial system. For instance, in the Penal Code there is no article for the iconoclasm, yet there are articles for hooliganism or for inciting national and religious discord, which the authorities are increasingly applying to the artists who dare to articulate the inconvenient ( for authorities) questions in the public space. The unfolding of the performative politics in the urban space is directly connected with the technological improvement of the totalitarian techniques used by the modern power regimes. "The new quality of attacks on the practice of criticism" (Gerald Raunig), which we all feel in the era of total control, for artists is not only a reality, which puts the limits onto the freedom of artistic expression ti but also it is an object that must be constantly "tested", revealing not only les lignes de fuite (G.Deleuze, F.Guattari), but also the limits of the Possible - a certain “gesture” of a protest, which challenges the very system of discipline and control (whether one can call it a challenge, détournement, disobedience, drop out, sabotage, or by any other name). Thus, in my presentation I would like to focus on the analysis of various strategies of public address, employed by contemporary Belarusian artists who use diverse media (from calendar and comics to videoperformances and happenings on the streets) in articulating their political views and producing public statements. The difference in their political views (from romantic nationalism to anarchism, from feminism to left-wing activism ) matters too: the questions of who is the ‘target’ and the recipient of the artistic messages defines the choice ( or, better, the predilection) of media, the envisaged forms of interaction with the public and the strategies of address either in virtual or in real public space (be it the main square of the capital city, public transportation or the gallery space). More concretely, I would like to discuss several projects performed by such Belarusian artists as Marina Naprushkina (a booklet "My Daddy is a Policeman. What does he do at work? " (2011), made in cooperation with NGO “Nash dom”), Mikhail Gulin ( a series of perfoemances ‘I am not a…” (2011 – 2013), by Denis Limonov & Lime Blossom Group ("Turmoil on Bus Number 23" (2011) and " Letter to the Prosecutor General of Belarus" (2012), Sergey Shabohin (“Practice of Subordination: Terror Ready-Made Collection “ ( since 2011 – till present, art-research archive of the objects of fear) and others. Almira Ousmanova is Professor of the Department of Social Sciences at the European Humanities University, Vilnius Ami Skånberg Dahlstedt Invisibility as suriashi as heterotopia I will offer a workshop and talk, which investigates how we might work with concepts of invisibility and non-existent spaces in our artistic work. The workshop departures from my PhD project ‘Suriashi – an interventionist practice in urban spaces’, where I look at society from within a Japanese practice called suriashi. Suriashi translates as ‘creeping/rubbing/sliding foot’, but it does not only involve the feet, it involves the whole body, and it involves ideas of where spirits are placed. The Nō playwright Zeami (1363ti1443) described this appearance through the sentence: ‘the eyes look ahead and the spirit looks behind’. There is a practicality in suriashi, where the practice offers a method to process your inner/outer and mental/physical balance. This has been very useful for when in competition, when in a battle or match, and when on stage. In the studio, we walk slowly forwards in suriashi, but we lean backwards to acknowledge past times, while being fully present in the space. This practice shows almost literally the scientific view of time: a linear progression of past, present and future. The contemporary choreographer Kenzo Kusuda works with ways to ‘vitalize the invisible’ and to merge the physical body with the imaginary body. I will ask you to bring your favourite ancestor, someone who might have helped, caused or forced you to become an artist. We will together imagine the function of ‘crisis heterotopia’ in our contemporary society. Ami Skånberg Dahlstedt is a Swedish performer, choreographer, filmmaker and writer. Ami often creates stage work (solo, and collaborative) on the basis of her embodied life story in a particular theme. Her 90 min solo performance A particular act of survival received a performing arts award at Scenkonstgalan in Sweden in 2015. Since then she has created two new solo performances in collaboration with the composer Palle Dahlstedt and the light designer Åsa Holtz; Atsumori/Hero (for the Noh theatre Festival in London) and The laugh of the Medusa. Her new play Yamamba ti walse for a wounded ancestor premieres in Dec 2018. The slow walk suriashi is essential in Ami's practice, which she has studied since 2000 with her teacher Nishikawa Senrei in Kyoto, Japan. Since 2014, she walks in suriashi in different spaces. Ami also explores the various accents her dancing contains, where nihon buyō has been an important source of knowledge the last seventeen years. Between March 2015 and July 2018 Ami chaired the Nordic Summer University Study Circle 7: Practicing Communities ti Transformative societal strategies of artistic research together with Dr Lucy Lyons. Ami is a member of the Peer Review board of Journal of Artistic Research since February 2017. Annikki Wahlöö, Benedikte Esperi & Cia Runesson The ABC of Departure A nomadic situation that aims to provide encounters for contemporary performative artists and cultural exchange with an audience in a variety of context, discussing and examining the concept of Departure. A tent: A nomadic situation, an other space, an in transit place, As done at Fårö, NSU summer session 2018: Keywords: stealing, cheating, lying, copying, appropriating, adjusting, excluding, tell-tales We represent and present the presence of nomadic instant coffee, intellectual property, choreography and research about research. This is the temporary In-Tents-Intervention® and critical conversation around artistic research. Annikki Wahlöö is a performer, actress and scriptwriter. She has studied acting at the Lee Strasberg Institute in New York, Malmö Theatre Academy and at UniArts in Stockholm (BA). In 2010 she studied with the SITI company in Saratoga Springs New York. She has a MFA in theatre/acting from the Academy of Music and Drama, University of Gothenburg 2016. She also have a background within History of Ideas and Theatre Science (BA) and an education in scriptwriting for film and television. She is currently working as a scriptwriter, actress and performer. Benedikte Esperi holds an MFA in Contemporary Performative Arts - Academy of Music and Drama, Public Art and Philosophy - Valand Academy, Choreography - Academy of Dance and Circus. She produces choreographies, dance videos, performances / live art and installations. She is regularly invited as a lecturer within her genres. Her atelier at Ringön is supported by the Art Council of Gothenburg. Locally presented at 24m2, Atalante, 3:e Våningen, Teater Trixter, Röhsska Museet, City Museum, Röda Sten Arthall, Galleri 54, A-venue and at the Art Faculties in Gothenburg. Internationally presented at Movement Research NYC, Gibney Dance NYC, Last Frontier NYC, RCA London, Centre 151 London, La Caldera Barcelona, Going Dutch